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When I first saw the light of the day in the artificial shape of an 60-watt-neontube – I was born in the midsummer 1958 during a strong summer thunderstorm – I didn`t realize that I was sourrounded by women right from the beginning of my life . Nice dressed nuns and nurses let me bear the thunder, the storm and the heavy heavens tearsdrops too. And last not least my own crying. So it was also the sound of natural music that took me under its control right from the start. Me ? I wouldn`t have believed at this time if somebody had told to me that obviously there are two souls existing in the little, naked and innocent body of mine.

However, according to my parents deeply wishes I had to learn to play an instruments in the early childhood already. The start with an awful wooden recorder in school was followed by an period of piano cruels – in the review one torture instrument for each of my two souls.  In the consequence of  my fathers decision to buy an electric piano he said for his own pleasure  I was forced to bear endless pianoetudes, -exercises and -lessons. Facing this time I can recall the memory of having used the two or three simple „sounds“ of the electric piano to create my own tunes of  a few tones – which nowadays probably would be named as „sequences“. 

In the end  the finish of my childhood and beginning of adolescens at the same time were abruptly caused by the crash of two guitar amplifiers in the late 60th or early 70th as well as my  very special attempts to treat the electric guitar in a typical manner of Zeitgeist and decade just to create untypical artificial sounds (and saving one part of my soul).

 While one part of my souls was saved by guitar music, the other one were longing for art and creative painting – and not really satisfied in school where teachers tought to pupils the skilled handling of pencils, lineals and abstruse mathematic problems instead of supporting the creativity and how to find a own creative style.

To make it brief: It was a permanente fight between the two soul interests and finally both music as painting won. First I studied free arts and art painting in Cologne/ Germany in the 80th but always took care of my musician feeling and development – for example I composed portrayals of  musical art works like the „Carmina Burana“ by Carl Orff  just for fun and figuring it though this could not correspond  with the spartanic students life in the expencive town of Cologne.

As a result of earning money by doing several not artificals jobs I sometime could buy my first synthesizer, an second-hand DX 9 including the FM-synthese, which was really unknown for me until this day.

So I startet with a new line of musical experiments – slowly and step by step with an extension of my cheap musican equipment. Following to the DX 9 were ( in this order) a  Yamaha FB-01 and a Commodore C64 including music software (which was in fact a 16-soundtrack-sequenzer).

Reaching this state of extension was in my opinion comparable to a complete painters studio as an own creative space, well equiped with easel, paints, brushes and all that needed and loved stuff: You simply can let the music grow.

And that is exactly what I did.

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